Slide Effects
by ireactions
Summary: Quinn wakes up to find himself home in 1995: Wade's working at Doppler Computers, Arturo's teaching, Rembrandt's a struggling musician. Only Quinn remembers the last 5 years, and he's wondering if he's gone insane or if something has gone very wrong...


SLIDE EFFECTS - story by Tracy Tormé, script by ireactions

**For anyone who has ever longed for one more slide with Quinn, **  
><strong>Wade, Rembrandt and Arturo - this story is for you.<strong>

Quinn Mallory wakes up to find himself home. In fact, it's like  
>he never left. It's 1995, Wade Welles is working at Doppler<br>Computers, Professor Arturo is teaching, Rembrandt Brown is  
>working on his musical career and only Quinn remembers sliding.<br>Haunted by five years of traumatic memories, Quinn starts to  
>wonder if he's losing his mind or if something else has gone<br>terribly wrong...

This story is set **after** "The Seer" and based on a plot  
>by SLIDERS co-creator Tracy Tormé.<p>

Note: To find a properly formatted PDF version of this script,  
>Google "Scribd," "Sliders" and "Slide Effects."<p>

_"This show is flawed. It's entirely a product of the time it was _  
><em>created. It's concept is great, but it never decided how it wanted <em>  
><em>to follow through with it. When we carve through the things <em>  
><em>that make the show terrible, we're left with Quinn, Wade, <em>  
><em>Rembrandt and Arturo. Eventually, we're left with even less. <em>  
><em>But these four people struck on a chemistry that was frankly <em>  
><em>magical. It was warm and loving but never alienating. You <em>  
><em>could be friends with them if you wanted. And we are friends <em>  
><em>with them in a way. We care about them and we want to stay <em>  
><em>with them through thick and thin - whether that refers to <em>  
><em>what's going on in the show or behind it." <em>- Ian McDuffie, _Think of a Roulette Wheel_

* * *

><p>We open on a distant view of the Milky Way galaxy, majestic<br>and vast. But a YOU ARE HERE sticker and glimmers of light  
>against the black of space show we're looking at a giant wall<br>poster.

Our gaze moves along the wall, past the poster. Past a  
>miniature basketball net mounted to the wall. Past a hockey<br>jersey, and now we brush past a telescope, featuring an I  
>BRAKE FOR ASTEROIDS sticker on it. Behind the telescope is a<br>desk covered with scattered papers. Resting against the desk  
>is a surfboard. Next to that is a dresser where some dinosaur<br>models stand, dominating a baseball mitt.

And across from the dresser (and a sea of unwashed laundry  
>lying on the floor) is a bed. A black cat sits on the bed,<br>nestled comfortably, sharing the bed with a YOUNG MAN  
>stretched out on top of the covers, asleep with his glasses<br>on and a book called HYPERSPACE left open on his chest.

He mumbles in his sleep.

QUINN  
>Now... what do we do...<p>

Abruptly, Quinn Mallory sits up with a gasp. The book goes  
>flying as he reaches out, trying to grab onto something that<br>isn't there.

QUINN (CONT'D)  
>Remmy, no! Don't -<p>

Quinn looks around, sees the laundry on the floor, the  
>dinosaurs on the dresser and his cat, Schrödinger, in front<br>of him.

QUINN (CONT'D)  
>Where the hell am I?<p>

The cat meows and Quinn lurches back like he's been shocked.  
>He pulls himself off the bed, staring at the cat, who only<br>offers another meow of familiarity. Quinn backs into the  
>dresser, and one of the dinosaurs falls over. He turns.<p>

Picks it up. Lets his fingers skim the surface of the model.  
>Confirming the reality.<p>

He puts the dinosaur down and walks to a nearby mirror,  
>hesitantly looking into it.<p>

FLASHCUT TO:

Mallory (Robert Floyd) stands in the mirror.

FLASHCUT TO:

Quinn - looking into the mirror and seeing himself. His own  
>face. His lengthy hair. His gray golf shirt. He takes off his<br>glasses. He touches his nose and the scar above his lip.

He looks around the room again, suspicious and untrusting.  
>Schrödinger yowls.<p>

QUINN (CONT'D)  
>I don't believe this -<br>(to the cat)  
>I don't believe you.<p>

Schrödinger the cat is indifferent. Quinn yanks open his  
>bedroom door and steps out.<p>

CUT TO:

QUINN'S LEGS -

Running down the stairs of his house. Then he abruptly stops.

Quinn touches the bannister of the stairs, the floral  
>wallpaper. He slows his pace, walking down the stairs, not<br>knowing what's ahead. He's tense, braced for action. He  
>reaches the foot of the stairs, makes a right turn, heading<br>towards the kitchen.

He stops for a moment to look at the chandelier lighting the  
>front hallway, and stares hard, looking for discrepancies.<br>Then he keeps moving, stepping into the kitchen with cautious  
>anxiety. He's stunned by what he sees.<p>

QUINN  
>No -<p>

Quinn's mother, Amanda Mallory, stands by the toaster, with  
>two slices of toast on a plate.<p>

MRS. MALLORY  
>Morning!<p>

QUINN  
>What is this?<p>

MRS. MALLORY  
>Oh, rye. I bought white bread just<br>in case you didn't like it, but -

QUINN  
>How is this possible!? How can you<br>be here?

Mrs. Mallory is taken aback.

MRS. MALLORY  
>Quinn?<p>

She moves towards him, but when Quinn flinches, she stops in  
>her tracks.<p>

MRS. MALLORY (CONT'D)  
>Quinn, I'm sorry about last night.<p>

Quinn tries to process the words. But they're meaningless.

QUINN  
>Last night?<p>

MRS. MALLORY  
>(agitated)<br>You knocked out the power!  
>(takes a calming breath)<br>But I shouldn't have told you to  
>stop working on your father's<br>equations.

Quinn's suspicion, anger and fear begin to fade, as he stares  
>at his mother, unharmed, untraumatized, loving -<p>

QUINN  
>I -<p>

MRS. MALLORY  
>I talk to him too.<p>

She reaches over to a chest of drawers with a flat counter  
>surface, and picks up a photograph. It shows herself, her<br>late husband, Michael, and Quinn, standing next to each  
>other.<p>

MRS. MALLORY (CONT'D)  
>I just think you could find ways to<br>keep your father in your heart that  
>don't involve hundreds of dollars<br>in electrical repairs.

Quinn says nothing, but his eyes are welling with tears. Mrs.  
>Mallory moves towards him, and this time, Quinn doesn't<br>retreat. She gently, but firmly, wraps her arms around him.

QUINN  
>Mom -<br>(a choking sob)  
>I'm sorry. I was afraid - I<br>thought I'd never see you again.

MRS. MALLORY  
>Quinn Mallory, it wasn't our first<br>fight and it won't be our last.

Quinn holds his mother tight, never wanting to let go.

MRS. MALLORY (CONT'D)  
>In other news, your friend Wade<br>called. Soft voice for a man.

QUINN  
>Wade - !<p>

He breaks the hug.

QUINN (CONT'D)  
>She's alright?<p>

Mrs. Mallory releases Quinn, moving back towards her toaster.

MRS. MALLORY  
>Oh, it's a she. She wanted to ask<br>you if all of those new computers  
>at Doppler had hard drive failures<br>or if she'd just been unlucky with  
>two?<p>

Delight and confusion fight for space across Quinn's face.

QUINN  
>Wade!<p>

He turns, running towards the front door.

Halfway to the front door, Quinn stops. Turns around. And he  
>moves to the door in the hallway, the door to his basement.<p>

He pulls the door open and runs down the stairs.

INT. QUINN'S BASEMENT. MORNING

Descending, Quinn switches on the lights and anxiously looks  
>around his workroom. The basement is as it should be. An<br>astounding scientific laboratory with several shelves,  
>looking like stereo racks, full of complex wiring, computers,<br>keyboards, oscilloscopes showing fluctuating wave patterns on  
>the screens.<p>

There's an optical table, steel-topped with drilled holes, on  
>which many refractive mirrors, a laser and an electron<br>microscope are anchored. A doorless refrigerator is  
>surrounded by small tanks, connected by multiple wires to a<br>large stainless steel cylinder.

Several large, metal coils are also situated at various  
>points of the room. And against one wall is the blackboard,<br>covered with Quinn's calculations - and a question mark at  
>the end of the equation.<p>

Quinn moves to the armchair in front of the television and -

QUINN (CONT'D)  
>My tapes - where are they?<p>

MRS. MALLORY (O.S.)  
>Quinn?<p>

Quinn looks back to the stairs, at his mother.

MRS. MALLORY (CONT'D)  
>I didn't mean what I said, but I do<br>think you should get out of the  
>house now and then. And if a girl<br>needs your help with computers -

Quinn nods, and urgently moves towards the stairs.

CUT TO:

EXT. MALLORY HOUSE. MORNING

Quinn's blue BMW, with Quinn behind the wheel, backs out of  
>the driveway. We go to Quinn in the driver's seat, his<br>expression frantic. He grips the steering wheel, steps hard  
>on the gas. The car practically leaps down the street.<p>

We jump ahead in time, with Quinn speeding down a street past  
>a park.<p>

An upcoming traffic light goes from green to yellow. Opposite  
>Quinn's vehicle, a red car is in the left-turn lane ahead of<br>Quinn. The red car is preparing to make the turn.

Quinn sees the red car about to move into his path. But  
>Quinn's racing mind won't let him slow down.<p>

As the left-turning car inches into the turn, Quinn slams his  
>foot on the gas pedal, intending to speed through the yellow<br>light.

But the left-turning car accelerates as well and finds itself  
>on a direct collision course with Quinn's BMW.<p>

Quinn yelps and abruptly swings his wheel all the way to the  
>right.<p>

At the last second, he manages to avoid a nasty crash and the  
>two cars end up parallel to each other on the side street.<p>

Gasping, Quinn brakes his car, and rolls down his window. He  
>leans out to the other car, which has stopped. The window is<br>rolling down too.

QUINN  
>Sorry - I -<p>

The other car's window rolls down completely to reveal  
>PROFESSOR MAXIMILIAN ARTURO's snarling face behind it.<p>

ARTURO  
>You thoughtless, inconsiderate -<br>Mallory?!

QUINN  
>Professor - ? You're alive!<p>

ARTURO  
>I very nearly wasn't, you<br>blistering idiot! You clearly have  
>no business driving a car. Get a<br>scooter. Ride a bike. Stay off the  
>roads!<p>

QUINN  
>Oh my God. It's you. Professor. I<br>can't believe you're -

ARTURO  
>Mr. Mallory!<br>(deceptively calm)  
>I am already coping with my own<br>shock, please don't add yours to my  
>burden. I will see you in class,<br>provided I make it to campus alive!

Arturo's car speeds off, leaving Quinn behind. Quinn leans  
>back against the driver's seat, breathing hard.<p>

(SOUND FX: The sound of a hand banging on a door.)

CUT TO:

A CLOSE UP OF A FRONT DOOR TO A HOUSE

Quinn's fist pounds on the door urgently. It opens.

Wade Welles' hair is tousled and standing on end, her eyes  
>are bleary, her robe is an unflattering faded blue and her<br>acne scars are unadorned by makeup.

WADE  
>Quinn? What's going on? Did I give<br>you my address?

Quinn gazes at Wade wordlessly, drinking in the sight of her.

Wade touches her hair, embarrassed. She rubs her eyes.

WADE (CONT'D)  
>Quinn?<p>

QUINN  
>I needed to see you.<p>

WADE  
>Don't we have a shift later? I'm<br>not at my best right now.

QUINN  
>You look beautiful.<p>

Wade doesn't know what to make of that, but she doesn't  
>object, either. It's like Quinn's presence makes her awaken:<br>her eyes widen. She stops touching her hair.

She returns Quinn's gaze, and doesn't recoil when Quinn  
>hesitantly reaches out a hand to stroke her cheek.<p>

WADE  
>I... always wanted you to...<p>

Quinn moves closer. He barely believes in this moment. His  
>hands go to her shoulders, stroking them lovingly. Wade. He<br>hasn't seen her in so long. He thought she was -

FLASHCUT TO:  
>Wade Welles, inside the Kromagg sliding machine, her<br>expression vacant in the bath of green liquid.

FLASHCUT TO:  
>Back to Wade Welles now. Disheveled, alive and well.<p>

Quinn leans forward and so does Wade. His lips brush against  
>hers, a gentle kiss of longing and regret. She kisses him<br>back. Quinn moves his mouth to Wade's cheek, wanting his lips  
>to touch every inch of her skin.<p>

QUINN  
>(whispering)<br>I thought I'd lost you -

Wade abruptly shoves Quinn back, severing the connection. Her  
>face tightens.<p>

WADE  
>Wait, what?<p>

CUT TO:

INT. DINING ROOM. DAY

Quinn and Wade sit at the dining room table. Wade's hair is  
>damp, as though she's run some water through it to get it in<br>place. A coffee pot and two cups are before them.

WADE  
>That's quite a story.<p>

QUINN  
>You think I'm crazy.<p>

WADE  
>I think you had a dream.<p>

QUINN  
>The two aren't mutually exclusive.<p>

Wade laughs. Quinn warms at the sound. Wade reaches for a  
>packet of cards on the table and starts pulling out the<br>cards.

QUINN (CONT'D)  
>Tarot cards?<p>

WADE  
>I'm betting you don't believe in<br>the supernatural. I like to think  
>it exists whether we believe in it<br>or not.

She begins separating the cards into small stacks.

WADE (CONT'D)  
>But I also think that it can be a<br>way of looking into our own minds.  
>Converting our thoughts to symbols<br>and common images.

She turns over a card. The Magician.

WADE (CONT'D)  
>You wanted to build a hovercraft<br>with string theory. It's part of  
>how you relate to your dad.<br>You knocked out the fuse box. You  
>had a fight with your mom.<p>

She smiles. The next card is the Hermit.

WADE (CONT'D)  
>Maybe this dream was just your way<br>of working through some issues.

QUINN  
>It's detailed, Wade. And I know<br>things from my dream that I  
>couldn't possibly know -<p>

WADE  
>Yeah?<p>

QUINN  
>You've got a friend, Sabrina, who's<br>a Wiccan. You shared a bedroom with  
>Kelly until you turned 19. When you<br>were 6, she told you what all your  
>Christmas presents were before you<br>opened them.

Wade weighs this thoughtfully. The next card is the World.

WADE  
>Maybe you overheard me once and<br>forgot. Who knows?

The next card is the Tower.

WADE (CONT'D)  
>Forget about the interdimensional<br>monkeys or my head being in a box.  
>Look at the ideas. A journey.<br>Losing a sense of home and a father  
>figure. Losing the chance to tell<br>someone how you feel. This was on  
>your mind even before the<br>nightmare.

QUINN  
>I'm having trouble remembering what<br>came before it. Everything seems so  
>far away, so distant. I wasn't even<br>in my body.

WADE  
>You don't always have motor<br>functions when you're dreaming. And  
>if your dad's work is important,<br>that'll make it more intense.

QUINN  
>I'm sorry. I must be losing my<br>mind.

Wade touches his hand. Holds it.

WADE  
>I'll always help you find it.<br>Mostly because I can't put up with  
>Michael Hurley without you to split<br>his attention.  
>(nods reassuringly)<br>But it might be good to talk to a  
>professional mind finder.<p>

CUT TO:

A CLOSE VIEW OF A BUSINESS CARD

It's a card for a psychotherapist named Bruce Whelan.

Wider angle: we see Quinn sitting in a waiting room in a  
>doctor's office, alone, holding the card that Wade presumably<br>gave him.

An office door opens. A woman in a smart suit ushers a  
>teenager out the door.<p>

WOMAN  
>I'll see you soon, Rodney.<br>(pausing to look at Quinn)  
>You're here for Dr. Whelan?<br>(as Quinn nods)  
>He'll be with you in a few minutes.<p>

As the woman returns to her office and her patient leaves,  
>Quinn shifts in his seat.<p>

Then the door at the entrance to the waiting room opens. A  
>girl with dirty-blonde hair and a perpetually nervous<br>expression enters. She takes a seat on the opposite side of  
>the waiting room from Quinn, not making eye contact.<p>

But Quinn recognizes her. It's -

QUINN  
>Gillian.<p>

Gillian Mitchell. The girl from "Gillian of the Spirits." The  
>girl who sees ghosts and spirits. The girl whom Quinn met on<br>another world and helped find sanity and confidence.

She nearly jumps out of her chair.

GILLIAN  
>Do I know you?<p>

QUINN  
>I -<br>(a pause)  
>I've eaten at your diner?<p>

GILLIAN  
>Oh! Okay. Sorry. I don't like<br>people to know I come here.

She wraps her arms around herself. Quinn's anxiety begins to  
>return.<p>

QUINN  
>Gillian, do you -<p>

At that point, the entry-door to the waiting room opens  
>again, and someone else walks in.<p>

A man in a needlessly reflective purple suit walks in,  
>bearing a relentlessly positive expression that clearly masks<br>inner turmoil.

QUINN (CONT'D)  
>Rembrandt?!<p>

REMBRANDT BROWN turns to Quinn.

REMBRANDT  
>Ohhhh. This isn't helping. I come<br>to these sessions to cope with not  
>being rich and not being famous.<p>

Quinn gapes at Rembrandt.

REMBRANDT (CONT'D)  
>But I appreciate it. I gotta be<br>honest, the Topps ain't my fondest  
>memory. But the Cryin' Man's always<br>got a special place in his heart  
>for his fans.<p>

He sits down, oblivious to Quinn's emotions, dismissing him  
>as being star-struck.<p>

QUINN  
>You're a singer. Your name is<br>Rembrandt Brown. "Cry Like A Man"  
>was a hit, then you quit the<br>Spinning Topps, which charted 13  
>number one hits without you.<br>You had a stint as a cook in the  
>Navy, but you can't swim.<p>

Quinn suddenly stops, realizing the incongruity of the  
>statement. Then, barrelling ahead -<p>

QUINN (CONT'D)  
>You hate kids. In the last few<br>months, you've been dating Alesha  
>Avo. When you were Little Rembrandt<br>with the Shandells, you grew your  
>first mustache. Your favourite<br>shaving cream is Old Spice  
>sensitive. You bought your Cadillac<br>in 1979 from a man named Dale  
>Summers. You thought you were a<br>Gemini because you misread the  
>astrology chart and you were<br>actually -

GILLIAN  
>Holy hell! Stalker much?<p>

REMBRANDT  
>You're creeping me out. And I ain't<br>never been a cook for nobody! But  
>how do you know about Alesha?<p>

Quinn is now uncaring as to how he appears. He turns to  
>Gillian -<p>

QUINN  
>And you - Gillian. You hear<br>voices. You see things that aren't  
>really there?<p>

GILLIAN  
>(mortified)<br>How - did my classmates send you  
>here? Is this some kind of joke?<p>

Quinn gets up and moves towards the door.

QUINN  
>I'm not laughing.<p>

He walks out.

INT. QUINN'S BASEMENT. DAY

Quinn descends the stairs into the laboratory, determined and  
>angry. He wants answers. His cat, Schrödinger, trails behind<br>him.

MRS. MALLORY (O.S.)  
>Quinn!<p>

Quinn looks back up the stairs at his mother. She holds a  
>plate with a sandwich on it.<p>

MRS. MALLORY (CONT'D)  
>Mr. Hurley called. He said<br>psychotherapy was no excuse for  
>absence without notice.<br>(lets that sink in)  
>When did you start seeing a<br>therapist?

QUINN  
>I didn't. I thought I should, but I<br>didn't.

Mrs. Mallory hands Quinn the plate.

MRS. MALLORY  
>(gesturing to the<br>basement)  
>You won't always find your answers<br>down here, you know.

Quinn accepts the plate with a smile breaking through his  
>confusion. Mrs. Mallory leaves and Quinn returns to the<br>laboratory. He sets the plate down on a table.

He pulls down the lever on one of the breakers to bring power  
>to the sliding machine. The coils hum with energy and Quinn<br>rubs his hands together. He moves towards the work table.

His hands snap components and circuits into place. He works  
>fast and from memory, glancing briefly at drawings only to<br>remember he doesn't need them.

We're past mid-day and close to evening by the time Quinn has  
>a timer in his hands.<p>

He flips it open, sets the timer and presses the button.

It sparks in his hands and a wisp of smoke comes from inside.  
>He drops it with a cry of surprise.<p>

Schrödinger makes a noise of fright and hides behind a table.  
>The timer makes a whining sound internally and then the<br>lights go dead. Quinn prods at it with his foot, picks it up  
>with a pair of tweezers and puts it on his work table. He<br>snaps it open.

The internals are burnt and scorched.

Baffled, Quinn turns to his chalkboard. The equation is  
>complete except for after the equals sign. Instead of the<br>answer, there's only a question mark.

Quinn carefully erases the question mark, and writes in the  
>missing piece with chalk. Xr12ÅX. He even adds a happy face  
>at the end.<p>

Then he stops at looks at the equations as a whole.

QUINN  
>Hang on. This... doesn't add up<br>properly.

He reviews each part of the chalkboard, every line, every  
>symbol, every letter, every digit. He pulls out a scientific<br>calculator from a drawer and redoes every calculation. He  
>opens various reference books, comparing them to what he<br>wrote on the board.

And then he reaches over to the chalkboard and draws a line  
>through the EQUALS SIGN next to the missing piece he just<br>wrote in.

QUINN (CONT'D)  
>It used to be right.<p>

Quinn shakes his head in consternation. He gets the plate  
>with his mother's sandwich on it, and drops into his<br>armchair. He nibbles at his food, then breaks off a piece and  
>holds it out to entice his cat. Schrödinger comes to him and<br>Quinn pets his cat thoughtfully.

QUINN (CONT'D)  
>I don't understand, Schrödinger.<br>According to this, sliding isn't  
>possible. There's no such thing as<br>alternate dimensions. No unified  
>field theory.<p>

Schrödinger meows in response.

QUINN (CONT'D)  
>But if the math never added up to<br>begin with, I'd never have built  
>anything down here at all. What<br>could have changed?  
>(beat)<br>You're right, Mom. I can't solve  
>this on my own.<p>

And Quinn comes to a decision.

INT. HOUSE. CLOSE TO DUSK

The doorbell rings. Arturo, still in his suit, sighs and  
>moves towards it. He opens it to find Quinn.<p>

ARTURO  
>How do you know where I live?<p>

QUINN  
>Professor, I need your help.<p>

ARTURO  
>What you need is some discipline<br>and a day planner. Vehicular  
>manslaughter is one thing. Absence<br>from my class? That has crossed the  
>line!<p>

QUINN  
>Professor! I need to talk to you.<p>

ARTURO  
>Which you could have done during<br>class and office hours. Good night.

Just as Arturo is about to shut the door, Quinn holds up four  
>pieces of legal-sized paper he's taped together and written<br>his calculations on.

ARTURO (CONT'D)  
>Oh my God. The unified field<br>theory. The missing proof. You  
>solved it.<p>

QUINN  
>Actually, no. That's why I need<br>help.

CUT TO:

INT. KITCHEN. EVENING

Arturo and Quinn have rewritten the calculations on an easel  
>of chart paper and are studying it intently.<p>

ARTURO  
>You say you solved this earlier<br>today -

QUINN  
>It was five or six years ago. I<br>think. It's hard to tell right now.

ARTURO  
>Yes, yes, your doppelganger from a<br>parallel universe - I'm sorry. I  
>hear the words in my own voice, and<br>I cannot justify breathing them. A  
>parallel universe. Merely a<br>mathematical concept for examining  
>the universe through numbers and<br>symbols. Abstract.

Arturo jabs a finger at the middle of Quinn's calculations.

ARTURO (CONT'D)  
>And according to this, impossible.<br>And yet...

QUINN  
>And yet you're hearing me out.<p>

ARTURO  
>Only because Jeopardy was pre<br>empted tonight, Mr. Mallory.

QUINN  
>Because you remember me!<p>

ARTURO  
>Of course I remember you, you're my<br>student! You nearly killed me  
>today! And you nearly destroyed a<br>car I refurbished with my own  
>hands.<p>

QUINN  
>I mean you remember our adventures<br>together. We were sliders.

Arturo stares at Quinn, his face unreadable.

QUINN (CONT'D)  
>You saved one Earth by giving them<br>antibiotics. You saved another by  
>creating the atom bomb. You ran for<br>Mayor on another Earth and moved  
>gender politics ahead by ten years.<br>(Quinn's voice is  
>trembling)<br>You taught me to be curious and  
>bold. You were like a father to<br>Wade, and Rembrandt... he just  
>loved you.<p>

ARTURO  
>Rembrandt?<p>

A pause.

QUINN  
>Please, Professor, can't you<br>remember?

Arturo doesn't speak. He looks back at the chart paper.

ARTURO  
>Everything on that paper tells me<br>you've lost your mind, Mr. Mallory.

He looks at Quinn, and a tremor enters his voice.

ARTURO (CONT'D)  
>But I find myself thinking of you<br>almost as...

Arturo shakes his head.

ARTURO (CONT'D)  
>If this is madness, it has the<br>benefit of being mentally  
>stimulating.<p>

Quinn nods, disappointed. But this is the best he'll get for  
>now.<p>

QUINN  
>Alright. Let's try something -<p>

Quinn reaches over to the chart paper. Writes in the part of  
>the equation that Smarter Quinn added for him.<p>

ARTURO  
>Meretricious. Would that it were<br>the missing piece that provides  
>proof of a unified field theory.<br>But it is not.

QUINN  
>That's just it. It was before. So<br>what would have to change on the  
>other side of the equals sign to<br>make it true?

Arturo studies the chart again.

ARTURO  
>Herbert Van Meer.<p>

QUINN  
>Oh, no.<p>

ARTURO  
>I'm sorry?<p>

QUINN  
>Nothing, go on.<p>

ARTURO  
>Well, as I was saying -<p>

Arturo circles one set of variables and numbers -

ARTURO (CONT'D)  
>Van Meer's theorem formed the basis<br>of the Podalski proofs when  
>converted to propositional<br>calculus. Hence, this specific  
>subset of the equation.<p>

QUINN  
>But if it were the inverse...<p>

Arturo picks up a piece of paper. Rewrites the set of  
>variables and numbers in the form of a fraction and tapes the<br>paper over the subset of the calculations on the chart.

QUINN (CONT'D)  
>It... it works.<p>

ARTURO  
>And our inequality becomes an<br>equality. Proof...

QUINN  
>But it doesn't work. How can it not<br>work?

ARTURO  
>Because... for some reason, the<br>very nature of the existence we  
>know, the reality we presently<br>inhabit...  
>(beat)<br>... has been altered.

QUINN  
>Maybe I'm crazy. Maybe I copied it<br>down wrong -

ARTURO  
>I'm pleased, boy, that you're<br>always inclined to test your  
>theories fully. But no.<br>Were the proofs inverted, had they  
>always been inverted - our modern<br>deductive systems would be  
>significantly different.<p>

QUINN  
>Professor, I know you don't<br>remember, but we've visited  
>hundreds of parallel worlds. Any<br>time something essential changed,  
>so did everything else.<p>

ARTURO  
>But not here.<p>

QUINN  
>Wherever we are - the theorem was<br>flipped - and the only measurable  
>effect -<p>

ARTURO  
>Is to prevent the likelihood of<br>interdimensional travel, with no  
>other effect on our field of<br>knowledge. And that is impossible.

QUINN  
>Do you... do you believe me now,<br>Professor?

Arturo gives Quinn an appraising gaze.

Then someone bangs on Arturo's front door.

ARTURO  
>Oh good. Perhaps our new visitor<br>will have proof that the moon is  
>made of green cheese.<p>

Arturo ventures to the door. Quinn studies the chart some  
>more, while we move down the hallway to see Arturo opening<br>the front door. Two police officers stand on Arturo's front  
>porch.<p>

We go back to the kitchen, in close on Quinn's face.

POLICE OFFICER (O.C.)  
>Sir? We're looking for a Mr. Quinn<br>Mallory? His car is parked outside.

Quinn looks up, worried.

ARTURO  
>Yes, of course - what's this all<br>about?

POLICE OFFICER (O.C.)  
>We received complaints that Quinn<br>Mallory has been harassing two  
>different people. A Rembrandt Brown<br>and a Gillian Mitchell. We'll need  
>to speak with him.<p>

ARTURO  
>He's in the bathroom. One moment.<p>

Quinn tenses, backs into the kitchen as Arturo returns.

ARTURO (CONT'D)  
>Closet. Now.<p>

Without waiting for Quinn's response, he shoves Quinn into a  
>nearby storage closet. Then Arturo carefully opens the back<br>door in his kitchen. He turns back to the kitchen table and  
>knocks over one of the chairs.<p>

ARTURO (CONT'D)  
>Arrgghhhhh! Quinn! Stop!<p>

Arturo throws himself down against the oven as the police  
>officers charge in, guns drawn.<p>

POLICE OFFICER  
>Sir?<p>

Arturo gestures at the open back door.

ARTURO  
>That lunatic attacked me and ran!<br>After him! He could be dangerous!

The police officers burst out the door. Arturo recovers and  
>pulls open the closet.<p>

QUINN  
>Gee, thanks.<p>

ARTURO  
>Leave your car. Go on foot, north,<br>and use the cover of the hedges on  
>Morton. Take the bus to campus. As<br>you did not attend my class this  
>morning, you will be present in<br>class tonight, and I will join you  
>there in an hour.<p>

QUINN  
>Professor, thank you for -<p>

ARTURO  
>(a loud whisper)<br>No time, boy! Go!

And as Quinn runs out of Arturo's house, the professor  
>returns to his seat and takes another look at the<br>calculations.

CUT TO:

EXT. STREET. EVENING

QUINN'S FEET

Pounding the pavement, running down the street. He gasps.  
>Breathes hard. He sees a phone booth ahead and stops.<p>

CUT TO:

QUINN IN A PHONE BOOTH

The receiver to his ear. Quinn speaks quickly.

QUINN  
>Please. Meet me there. It's more<br>important than anything. One hour.  
>I have to go somewhere else first.<p>

He hangs up and walks towards a nearby bus stop.

CUT TO:

INT. BUS. EVENING

Quinn sits aboard the bus, wrapped in his coat, his face taut  
>and tense. As other passengers walk past him, Quinn averts<br>his face, looking out the window.

EXT. STREET. EVENING

The bus stops, and Quinn disembarks.

CUT TO:

DOWN THE STREET

Quinn is now walking away from the bus, walking urgently, but  
>he knows where he's going. And ahead of him is a steakhouse<br>called Baton Orange.

CUT TO:

INT. STEAKHOUSE. EVENING

Quinn walks in, shakes his head at a hostess and walks past  
>into the area of tables. He walks towards one table and sits<br>down across from REMBRANDT, who is polishing off a steak.

REMBRANDT  
>You! You looking for more trouble,<br>kid?  
>(outraged)<br>I already called the cops. That  
>poor girl has enough problems<br>without you hassling her.

QUINN  
>Just hear me out. Aren't you<br>curious about how I knew you'd be  
>here?<p>

REMBRANDT  
>You're a stalker?<p>

QUINN  
>Rembrandt, get real! You've been<br>singing at weddings and funerals  
>for almost two decades. Who'd want<br>to stalk you?

Rembrandt grunts in pain.

QUINN (CONT'D)  
>We're friends, Rembrandt. We've<br>known each other for years, you've  
>just forgotten.<p>

REMBRANDT  
>Son, most of my friends, I've known<br>since I was 25. You'd've been an  
>infant and I don't forget faces.<p>

QUINN  
>Well, I haven't forgotten you,<br>Rembrandt. I haven't forgotten how  
>you told me about your evening<br>plans.

REMBRANDT  
>What?<p>

QUINN  
>You always told me - after the<br>Giants game, after your first  
>comeback performance, you'd booked<br>a table at your favourite  
>steakhouse. You were going to have<br>a quiet night alone. You didn't  
>want to forget who you'd been<br>before you became a big star again.

REMBRANDT  
>How - I didn't tell anyone I was<br>coming here tonight. No one.

QUINN  
>You told me lots of things, Remmy.<br>How you were 17-years-old. Little  
>Rembrandt and the Shandells. Violet<br>was your 29-year-old backup singer.  
>And how you loved her with all your<br>heart.

REMBRANDT  
>The only people who know that are<br>in the grave by now.  
>(beat)<br>Who are you?

QUINN  
>Your friend. You must feel that, on<br>some level. You know I would never  
>hurt you, Remmy. Look at me,<br>Rembrandt. Don't search your  
>memory. Just tell me what you feel<br>when you look at me.

REMBRANDT  
>I feel the need to slap you with<br>one hand and strangle you with the  
>other! I feel the need to take up a<br>steakknife and give you another  
>scar on your face. I feel -<p>

He stops. Stunned. Stares at Quinn more closely than ever.

REMBRANDT (CONT'D)  
>Q-Ball?!<p>

Quinn grins. His friend is back.

REMBRANDT (CONT'D)  
>Q-Ball...<p>

QUINN  
>Rembrandt -<p>

Rembrandt reaches across the table and grabs Quinn by the  
>collar.<p>

REMBRANDT  
>What fine kind of mess have you<br>gotten us into this time!?

Quinn flails and winces as his left elbow ends up in the  
>butter.<p>

CUT TO:

EXT. UNIVERSITY CAMPUS. EVENING

Wade paces back and forth in front of a faculty building, her  
>breath showing in the cold air. She jumps up and down to keep<br>warm.

WADE  
>Might as well be in Canada.<p>

At a distance, she sees Quinn and Rembrandt approaching. She  
>squints at Quinn's companion.<p>

WADE (CONT'D)  
>Who?<p>

Quinn and Rembrandt are still far from Wade.

REMBRANDT  
>I remember now - I was driving to<br>the game - but then your giant  
>hole in the air sucked me and my<br>Caddy off into iceland! And I don't  
>mean the country!<p>

QUINN  
>Yes - Yes!<p>

REMBRANDT  
>But that's not what happened today.<br>How can I remember two different  
>versions of the same day?<p>

They're closer to Wade now.

REMBRANDT (CONT'D)  
>And who's this little pixie?<p>

WADE  
>Don't call me that, Rembrandt!<p>

Quinn is delighted even as Rembrandt and Wade are astonished.

WADE (CONT'D)  
>Wait - wait - I've never seen you<br>before -

REMBRANDT  
>But I know you! I know you! Wade!<br>How can I -

ARTURO (O.C.)  
>It seems to be an epidemic, Mister<br>- Mister Brown.

Arturo has arrived.

REMBRANDT  
>Oh no. Another one. You're -<p>

QUINN  
>Come on, you can do it, just let<br>yourself -

REMBRANDT  
>Professor!<br>(beat)  
>Q-Ball, how many more old friends<br>do I not remember? This is worse  
>than the blackout I had in '84.<p>

ARTURO  
>Let's take the discussion inside,<br>Mr. Brown. This bracing climate  
>isn't suited to intellectual<br>discourse.

As Arturo unlocks the door to the building -

REMBRANDT  
>I hope I don't owe any of you<br>people money.

CUT TO:

INT. ARTURO'S CLASSROOM. EVENING

The blackboard shows Quinn's calculations, reproduced in  
>full, with a circle around the problematic subset. Arturo<br>holds a yardstick and stands at the front of the class.  
>Quinn, Wade and Rembrandt sit in seats.<p>

Arturo jabs his stick at the circled section of the  
>calculations.<p>

ARTURO  
>This morning, I considered Mr.<br>Mallory to be a menace behind the  
>wheel. This afternoon, I considered<br>him to be an absent layabout in  
>need of a wristwatch. This evening,<br>I found him annoying and intrusive.

REMBRANDT  
>How did I not remember you? Did you<br>always talk this much?

ARTURO  
>But then Mr. Mallory wrote out his<br>figures and showed me that there is  
>something wrong with this world.<p>

WADE  
>Yeah, it's running out of natural<br>resources, a third of the world  
>goes without -<p>

ARTURO  
>Something wrong, Ms. Welles, with<br>the very nature of reality itself.  
>Our existence - it cannot be.<p>

He lowers the yardstick.

ARTURO (CONT'D)  
>The last forty years of my life -<br>the papers I've written - the  
>theories I've proposed - they<br>would be fundamentally different  
>were Van Meer's theorem as we see<br>it written here.  
>(beat)<br>Something has altered history,  
>changing nothing but this set of<br>calculations. To entrap us in a  
>world where sliders cannot exist.<p>

REMBRANDT  
>And we're supposed to just take<br>your word for it that some  
>blackboard nonsense shows us the<br>world isn't real?  
>(taps desk)<br>Seems real enough.

ARTURO  
>Yes. It does. But so does what I<br>feel.

He walks towards Wade.

ARTURO (CONT'D)  
>I look at you. I don't know you.<br>But I know what I feel and I love  
>you as a daughter.<p>

Wade smiles.

ARTURO (CONT'D)  
>I look at Quinn. I see a son I<br>never had.

Quinn beams.

ARTURO (CONT'D)  
>I look at Mr. Brown. I see a<br>comrade. A man I trust with my  
>life. A brother.<br>(beat)  
>Mr. Brown, when you look at Quinn -<br>what do you see?

REMBRANDT  
>A smug college kid in dire need of<br>a good kicking, that's what I see.

Arturo seems disappointed.

REMBRANDT (CONT'D)  
>Oh, don't get me wrong, I know who<br>he is. I wouldn't want to kick him  
>if I didn't.<p>

QUINN  
>Thanks.<p>

ARTURO  
>There we are. We must try to<br>remember as best we can.  
>Mr. Brown's memories have begun to<br>come to the surface thanks to the  
>presence of familiar faces. Quinn<br>tells me Wade experienced a sense  
>of the truth as well.<p>

WADE  
>I look at all of you and... I know<br>we're all connected somehow.

ARTURO  
>Mr. Mallory, you must tell your<br>story again. Tell us of how you  
>created sliding. Tell us of how we<br>came to travel with you.

And from there, we go to a montage of scenes. We see Quinn  
>talking, standing in front of the seated Wade, Rembrandt and<br>Arturo. Quinn gestures.

The background of the scene fades to clips of "Pilot,"  
>"Summer of Love" and "Eggheads," showing various chase<br>scenes.

We see various shots of the four leaping into the vortex, in  
>the background while Quinn, in the foreground, continues to<br>narrate.

We see scenes from "Luck of the Draw," with Quinn falling  
>back onto the grass, bloody from a bullet.<p>

We see the gang putting their heads together in "Into the  
>Mystic."<p>

We see the dinosaur from "In Dino Veritas."

We see the fight between two Arturos in "Post Traumatic Slide  
>Syndrome," as Quinn mimes some of the punches.<p>

We see Kromaggs firing laser beams at the four as they make a  
>dash for it in "Invasion."<p>

We see the vortex depositing Quinn and the others in front of  
>a phone booth in "As Time Goes By."<p>

And as these clips unfold in the background, Quinn narrates  
>in the foreground. And the others nod, remembering.<p>

We see the four sliding out onto an airplane in the  
>background, represented through a clip from the third season<br>premiere, "Rules of the Game."

Quinn gestures to narrate, but then -

REMBRANDT  
>Hang on!<p>

Abruptly, the airplane vanishes and we're back in the  
>classroom, but the room is darker than it was before Quinn<br>began telling his story.

WADE  
>As you told us about our slides, I<br>started to remember each one.

ARTURO  
>(too quickly)<br>As did I.

REMBRANDT  
>It was more than that. I felt like<br>we were reliving it.

ARTURO  
>Yes. And - and I didn't want to<br>relive the world of nudists.

A gust of wind can be heard in the background.

QUINN  
>And the slide where we first landed<br>on a plane? Only it turned out not  
>to be a plane. It was a flight<br>simulator in an arena filled with  
>bombs and deathtraps and -<p>

WADE  
>I don't remember that.<p>

QUINN  
>No?<p>

REMBRANDT  
>As you told it, it all came back to<br>me, Q-Ball. In living colour,  
>almost. But not this.<p>

The lights in the classroom flicker.

ARTURO  
>Which leads us to the next<br>question. Why did Mr. Mallory  
>remember past that point, while the<br>rest of us didn't remember sliding  
>at all?<p>

QUINN  
>You said this world was a lie.<p>

REMBRANDT  
>Did we just find out where reality<br>ends and the lie begins?

WADE  
>Is it getting darker in here?<p>

REMBRANDT  
>It's like the more we remember -<p>

He looks around at the faded scene: the darkness seems to be  
>closing in around them.<p>

WADE  
>- the less real everything here<br>seems.

ARTURO  
>I believe the reality we presently<br>inhabit is subject to our  
>perceptions. We are rejecting the<br>world we see -

The darkness seems to enclose them, until the room is gone,  
>and the four are simply standing against a black landscape.<p>

And then there's a small amount of light, and Quinn, Wade,  
>Rembrandt and Arturo find themselves standing in a darkened<br>room, with five metal tables.

They see themselves - Quinn, Wade, Rembrandt and Arturo -  
>each of them are lying on one of the tables. Electrodes are<br>attached to their heads.

And there is a fifth table, and a figure lies on it, the face  
>hidden in darkness.<p>

ARTURO (CONT'D)  
>We are within a simulation. Within<br>our minds. But now we perceive the  
>truth, although we remain trapped.<p>

WADE  
>How do we get out?<p>

OFFSCREEN VOICE (O.S.)  
>You don't.<p>

The figure in darkness on the fifth table sits up. Rises, but  
>somehow leaves a second version of itself lying on the table.<p>

The figure steps out of darkness, revealing a voluptuous  
>female figure in a tight green T-shirt, with a contemptuous<br>expression framed in locks of red hair.

QUINN  
>Maggie!<p>

WADE  
>Who?<p>

Maggie Beckett smirks at that, and amused hatred burns in her  
>eyes.<p>

MAGGIE  
>Perhaps you'd prefer a different<br>face.

And then Maggie's face glows and blurs, and suddenly, her  
>form morphs into QUINN MALLORY.<p>

But not the Quinn we know. This Quinn has short hair, his  
>face is unshaven, and he looks at least three years older.<br>He's clad in a wifebeater (a sleeveless shirt). His face has  
>none of Quinn's passion or life, only a cold emptiness that's<br>then broken by a sneer. He's nothing like our floppy-haired,  
>flannel-wearing hero.<p>

WADE  
>You're not Quinn!<p>

QUINN  
>I've seen that shapeshifting<br>pattern before.  
>(pause)<br>You're a Kromagg.

For a moment, the Kromagg-Quinn's face shifts, showing an  
>inhuman face with a rounded brow, deep-sunken eyes that look<br>like scars, a pair of slits for a nose, and an ape-like jaw,  
>set in a rictus of cruelty.<p>

Then the face shifts back to the Kromagg-Quinn's face, but  
>the expression is unchanged.<p>

KROMAGG-AS-QUINN  
>But what is a Kromagg but a<br>shifting shadow...

His face morphs again. Now he looks like a younger relative  
>of Quinn's, with long hair and a cold face. Colin Mallory.<p>

KROMAGG-AS-COLIN  
>A splinter in the soul...<p>

The face changes again. And now it's Mallory (Robert Floyd).

KROMAGG-AS-MALLORY  
>A crack in the glass. A speck in<br>the ointment. Hiding in plain  
>sight. Waiting and watching,<br>gathering every fragment of  
>darkness within your hearts.<p>

The Kromagg shifts back to the form of the unshaven Quinn in  
>the wifebeater.<p>

KROMAGG-AS-QUINN  
>The sum of all your fears.<p>

The Kromagg smirks with Quinn's face, and the four back away  
>from him.<p>

QUINN  
>You've put us all in some kind of<br>telepathic prison. You're in our  
>heads.<p>

KROMAGG-AS-QUINN  
>Or maybe you're in mine.<p>

QUINN  
>You kidnapped us all, wiped their<br>memories, made them think they were  
>home - why?<p>

KROMAGG-AS-QUINN  
>Because you gave up trying to find<br>a way back home.  
>(tapping his temple,<br>looking at Quinn)  
>We placed a tracking device within<br>the miniscule cavity of your human  
>skull.<p>

Quinn shakes. Touches his own head.

KROMAGG-AS-QUINN (CONT'D)  
>And we waited for you to return to<br>your homeworld. The device would  
>signal us and we would come for<br>your Earth and its quantum  
>translocation technology.<p>

Wade gasps. Rembrandt touches her shoulder. Arturo moves  
>closer to them. But Quinn stands his ground.<p>

KROMAGG-AS-QUINN (CONT'D)  
>But as time passed, your travels<br>remained random.  
>You made no further efforts to<br>control your journey.

The Kromagg morphs into a dark-skinned woman with wide eyes  
>and a bob haircut. Diana Davis.<p>

She moves towards Quinn.

KROMAGG-AS-DIANA  
>And so my mission was given. A<br>single operative would track you to  
>your present location. Sedate you.<br>Bring you to this underground  
>chamber. Enter your minds and let<br>you see what you wanted most -  
>home.<p>

The Kromagg leans right into Quinn's face and morphs into  
>Colin Mallory.<p>

KROMAGG-AS-COLIN  
>I was to wake you up after a time.<br>You wouldn't remember me. But you  
>would remember what I gave you and<br>devote yourselves to finding home  
>once more.<p>

The Kromagg shifts again to Quinn - the older, unshaven  
>Quinn in the wifebeater.<p>

KROMAGG-AS-QUINN  
>And then we'd take your world.<p>

Quinn locks eyes with his own face.

QUINN  
>It worked on them. Didn't work on<br>me. Why not?

KROMAGG-AS-QUINN  
>Curious. The tracking device in<br>your head has a component of exotic  
>matter found in the folds between<br>dimensions. Allowing the  
>transmission of an interdimensional<br>signal. But it was damaged.  
>(beat)<br>It had been exposed to a rip in  
>time. It had absorbed a fragment of<br>time itself.

Comprehension dawns on Quinn's face.

QUINN  
>The rip in time - the rip in the<br>universe on the world where time  
>ran backwards.<p>

KROMAGG-AS-QUINN  
>When I looked into your mind, the<br>tracker interfered. It poured time  
>itself into your mind. And instead<br>of what I wanted you to see -

The Kromagg morphs into Colin. Then a red-haired Maggie. Then  
>Mallory. Then Diana. Then Quinn again.<p>

KROMAGG-AS-QUINN (CONT'D)  
>You saw every quantum possibility.<br>The possible outcome of every  
>choice on every world a Quinn<br>Mallory might potentially visit.

QUINN  
>Possible futures - ?<p>

KROMAGG-AS-QUINN  
>No, you little fool -<br>(furious)  
>Every future. A storm of futures.<p>

Bursts of light appear around the sliders and the Kromagg.  
>And within the bursts of light, we see moments appear.<br>Memories. Quinn in a leather jacket and blue T-shirt,  
>standing in a cemetery ("The Guardian"). Quinn in a dark<br>area, staring at a beaker holding a flickering flame ("The  
>Fire Within"). Quinn in a wooded area, crossing swords with<br>an enemy ("The Prince of Slides"). Quinn dressed as a  
>Christmas elf in a shopping mall ("Season's Greedings").<p>

Quinn, Wade, Rembrandt and Arturo look at the real versions  
>of themselves, lying on the tables, and they turn their<br>attention to the fifth table. On it, they can now see the  
>figure. It's a Kromagg.<p>

KROMAGG-AS-QUINN (CONT'D)  
>(spitting out the words)<br>Everything any double of you could  
>do, anything any one of you might<br>ever be - all of it running  
>through your mind and mine. And me,<br>forced to endure an infinity of  
>worlds dominated by your species -<br>evolutionary deviants and filth.

The Kromagg glares at Quinn.

KROMAGG-AS-QUINN (CONT'D)  
>Intolerable. My consciousness split<br>in half, inhabited by vermin. I  
>couldn't stop the storm, but I<br>could strain it -  
>(a sadistic smile)<br>And while you were receiving an  
>infinity of possibilities, I could<br>decide which ones you saw.

QUINN  
>What -<p>

KROMAGG-AS-QUINN  
>And I made sure you saw only the<br>worst.

The Kromagg shifts into the form of Dr. Oberon Geiger.

KROMAGG-AS-GEIGER  
>I found the 37 Quinn Mallorys who'd<br>suffered most. Including a Quinn  
>who'd lost his teacher. One whose<br>best friend was taken away. One who  
>no longer had a body of his own.<br>One who watched his last companion  
>slide to his death. I combined<br>their lives. Added in details from  
>the minds of your friends. Then I<br>made you live it out.  
>(with relish)<br>And I saw you in your wretched  
>state and laughed.<p>

The Kromagg becomes Maggie with red hair.

KROMAGG-AS-MAGGIE  
>Finally, the tracker burnt out from<br>the temporal stream and you joined  
>your friends. But I am still<br>trapped in this half-life you  
>consider home.<br>(beat)  
>But watch.<p>

And then suddenly, the scene around the gang and the Kromagg  
>is replaced by the underground floor of a military base.<p>

The sliders find themselves watching a FLASHBACK from "The  
>Exodus Part 2" unfold before them: they see THEMSELVES from a<br>third person point of view. In the flashback, Quinn, Wade,  
>Rembrandt and Arturo are standing together, seemingly frozen<br>in time as a gunshot bursts from the barrel of a gun.

Our sliders watch as Arturo in the flashback cries out and  
>falls.<p>

Our Arturo covers his mouth in horror as he watches the three  
>remaining sliders gather around his own body.<p>

REMBRANDT  
>No!<p>

KROMAGG-AS-MAGGIE  
>The worst of your worlds. And none<br>of you will ever make it home.

Arturo watches the scene of his own death unfold, sees the  
>sliders begging him not to die.<p>

KROMAGG-AS-MAGGIE (CONT'D)  
>You trained your pupil to be a<br>scientist.

The scene shifts again: the sliders now watch Quinn and  
>Rembrandt running over a grassy hill, carrying guns (in<br>footage from "Dinoslide").

And the gun-toting Quinn sprays gunfire with a look of  
>psychotic rage on his face. Hungry for blood.<p>

KROMAGG-AS-MAGGIE (CONT'D)  
>Look at him, Professor. With your<br>death, he became a killer obsessed  
>with revenge.<p>

Arturo is shocked by the aggressive, murderous Quinn firing  
>his weapon madly. He shakes his head in denial, but he can't<br>look away.

And the scene shifts again: now our heroes and the Kromagg  
>are watching a scene of Quinn and Wade in a medical bay.<br>Quinn screams abuse at Wade (in footage from "The Breeder").  
>The dialogue is unintelligible, but Quinn is clearly angry<br>and Wade is clearly hurt.

KROMAGG-AS-MAGGIE (CONT'D)  
>Not much of a leader without his<br>Professor. Which means that you  
>were a failure as a teacher.<p>

Arturo casts a saddened look at Quinn and Quinn turns away.

KROMAGG-AS-MAGGIE (CONT'D)  
>But the Professor's fate was<br>nothing compared to poor little  
>Wade.<p>

She turns her attention to Wade. And then the Kromagg changes  
>form again - still Maggie, but with black hair.<p>

Now the scene around everyone shifts again, to a gray and  
>bleak cell. The sliders watch another scene unfold: in this<br>flashback, Wade is being hauled out of a cell by Kromaggs,  
>screaming for Rembrandt (in footage from "Requiem").<p>

In the flashback, Rembrandt sits in his cell, unresponsive,  
>covering his ears.<p>

WADE  
>(watching the scene)<br>No. Rembrandt, please, do  
>something!<p>

The Rembrandt of "Requiem" does nothing as Wade is taken  
>away. And the Rembrandt watching can't look on. He buries his<br>head in his hands.

KROMAGG-AS-MAGGIE  
>(to Wade)<br>They never missed you, you know.  
>They never even looked for you.<p>

The scene changes to show Quinn, Maggie and Rembrandt  
>laughing as they come out of a theatre in "World Killer."<p>

KROMAGG-AS-MAGGIE (CONT'D)  
>You're in a rape camp, and there<br>your friends are, not a care in  
>this world or any other.<p>

The scene is altered once more: now it shows a flashback from  
>"Mother and Child." Quinn, Wade, Rembrandt and Arturo observe<br>a scene with Quinn, Rembrandt, Colin Mallory and Maggie  
>standing on a hilltop.<p>

REMBRANDT-IN-FLASHBACK  
>(grabbing Quinn's arm)<br>If Wade is back there, we gotta do  
>something!<p>

Quinn-in-the-flashback shows no reaction beyond indifference,  
>and pulls his arm from Rembrandt's grasp.<p>

QUINN-IN-FLASHBACK  
>I don't know if we have enough<br>time.

And Quinn-in-the-flashback walks off without a single glance  
>behind him. This Quinn walks right past our Wade, and an<br>agonized Wade looks on, stricken.

She stares at this future Quinn as he turns his back on her  
>and moves away. She reaches out to him, but he's too far away<br>now. She turns to our Quinn, accusatory and enraged.

KROMAGG-AS-MAGGIE  
>He never loved you. He just felt<br>guilty about you. But out of sight  
>- out of mind.<p>

WADE  
>(choking on grief and<br>anger)  
>Quinn - how could you - no. I<br>won't believe it.

KROMAGG-AS-MAGGIE  
>He won't deny it.<p>

And then Quinn approaches Wade.

QUINN  
>You're right. I won't. That is what<br>I did.

Rembrandt and Arturo are stunned.

QUINN (CONT'D)  
>Because somehow - I must have<br>known - that whatever was  
>happening wasn't real.<p>

The Kromagg-in-Maggie's form suddenly steps back, as Quinn  
>moves forward and faces her.<p>

QUINN (CONT'D)  
>You're pathetic. Infinite<br>possibilities in both our minds -  
>and all you could use it for was<br>torture.  
>(beat)<br>And you got sloppy. You combined my  
>lives in ways that didn't make<br>sense. Sliding into the future -  
>thinking I was home based on one<br>conversation - Rembrandt in the  
>Navy!<br>(a breath)  
>Nothing made sense. I stopped<br>believing in the life you gave me.  
>(looking at Wade,<br>Rembrandt and Arturo)  
>And I ended up in theirs.<p>

With one hand, Quinn grabs Arturo's shoulder. With another,  
>he grabs Wade's. Wade takes Rembrandt's hand.<p>

QUINN (CONT'D)  
>We took our memories back from you<br>and now we'll take the rest.

He glares at the surrounding scene. And from his will,  
>reality seems to crack. The hillside is gone, replaced by<br>better memories. Around the sliders, moments of the past  
>unfold. Among these moments, we see Quinn hugging Wade (from<br>"Pilot"). Then Quinn and Wade comforting a stricken Rembrandt  
>(from "The King is Back").<p>

We see Rembrandt and Arturo fishing (from "Luck of the  
>Draw"). We see Wade wrapped in a blanket, carried warmly in<br>Quinn's arms (from "Obsession"). Followed by a memory of  
>Quinn and Wade in front of the Mallory house, kissing (from<br>"Post Traumatic Slide Syndrome"). We see Quinn shaking the  
>Professor's hand (in "As Time Goes By").<p>

And we see a vision of Rembrandt and Arturo rushing to meet  
>Wade and Quinn. Wade hugs Arturo and Arturo lifts her into<br>the air as he embraces her (from "The Young and the  
>Relentless").<p>

The scenes fade to reveal the four sliders now. Standing in  
>the room with five tables, facing the Kromagg.<p>

QUINN (CONT'D)  
>You're no match for the four of us.<p>

The Kromagg-as-Maggie howls with rage and shifts back into  
>his natural form.<p>

His hideous teeth bared, he launches himself at Quinn, his  
>hands ready to tear Quinn to shreds. His cry of fury chills<br>the bone. His fingertips are within an inch of Quinn's face.

QUINN (CONT'D)  
>No.<p>

Before the Kromagg can make contact, the scene shifts  
>slightly, and the Kromagg vanishes.<p>

Only the Kromagg on the fifth table remains, sedated and  
>still.<p>

Quinn looks to his three friends.

QUINN (CONT'D)  
>We brought our memories back to us,<br>we can wake ourselves up too.  
>Tell yourselves. This isn't real.<br>We're lying on the table.

WADE  
>This isn't real. We're -<p>

ARTURO  
>- lying on the table.<p>

REMBRANDT  
>This isn't -<p>

QUINN  
>Real. We're lying on the table.<p>

ARTURO  
>This is not -<p>

CUT TO:

REMBRANDT SITTING UP

And pulling the cables from his head.

REMBRANDT  
>Real?<p>

Next to him, Quinn, Wade and Arturo are sitting up as well.

QUINN  
>Yes.<p>

He pulls himself off the table and walks to the fifth table  
>with the Kromagg lying on it. The others trail behind him.<p>

WADE  
>He's still asleep.<p>

Then suddenly, the Kromagg's form on the table shifts, and  
>the Kromagg looks like Quinn.<p>

KROMAGG-AS-QUINN  
>(mumbling)<br>Time to put... a slug on the  
>barbie...<p>

The Kromagg shifts again, turning into Maggie.

KROMAGG-AS-MAGGIE  
>(mumbling)<br>Get your stinkin' paw off me.

Shifts to Colin.

KROMAGG-AS-COLIN  
>(muttering)<br>Oh, this is truly inspired.

Shifts to Diana Davis.

KROMAGG-AS-DIANA  
>(a mumble)<br>It's one of the predicted  
>algorithms in the EPR paradox.<p>

Shifts to the form of Mallory.

KROMAGG-AS-MALLORY  
>(a whisper)<br>I'd call that a major fluctuation.

The sliders watch, fascinated, as the Kromagg continues to  
>switch forms, delivering curious statements in a sleepy<br>voice.

WADE  
>What's wrong with him - what's<br>wrong with it?

Quinn turns away.

QUINN  
>He gave me the worst of all worlds<br>he could find. Now he's going to  
>live through all of them. Forever.<p>

Quinn finds the timer on a small table. He flips it open.

QUINN (CONT'D)  
>Leave him. We need to get to the<br>surface. The plan was to let us  
>leave after we woke up. The exit<br>has to be close and we've only got  
>15 minutes to the slide.<br>(looking about)  
>A tunnel. Right here.<p>

The four of them move through a mouth in the wall, and into a  
>tunnel.<p>

They start walking up the path. A glimmer of light is visible  
>at a far distance from where they are. They advance towards<br>it.

WADE  
>I feel like I was home just a<br>minute ago. And before that - I  
>think we were getting dinner?<br>(frowning)  
>The timer said we had two weeks.<p>

QUINN  
>And we've been unconscious for most<br>of it. That Kromagg must've used  
>his telepathy to adjust our bodily<br>functions, keep us running without  
>-<p>

REMBRANDT  
>I really don't want the details,<br>Q-Ball!  
>(shaking his head)<br>I thought we were home for real  
>this time and I didn't even know<br>I'd been away. And now we're lost  
>again.<p>

ARTURO  
>Remember, Mister Brown, that home<br>isn't just a place, it can be the  
>people you're with.<br>(after a moment's thought)  
>There are some advantages to this<br>incident. The tracking device in  
>Mr. Mallory's head has been<br>destroyed.  
>(adding)<br>And of the four of us, he's the one  
>who suffered most. I'd say that's<br>only fair.

Rembrandt smiles at that. They keep walking. The light ahead  
>is getting closer.<p>

WADE  
>Quinn - we just have a day of new<br>memories. But you have three new  
>years of sliding in your head.<p>

QUINN  
>It's not staying. It's already<br>beginning to fade away.

ARTURO  
>I would consider that a gift.<p>

WADE  
>It just scares me. What Quinn<br>experienced? All of us getting lost  
>or dying? How do we know that won't<br>happen as we keep sliding?

ARTURO  
>Ms. Welles - our captor wanted to<br>show Quinn the worst his doubles  
>could experience. And of an<br>infinite number of Quinns, he only  
>found 37 suited to his purpose.<br>Which means the rest have futures  
>brighter than we can imagine.<p>

QUINN  
>Let's hope.<p>

ARTURO  
>(a smile)<br>And whatever happens, we will face  
>it together. We should be -<p>

Arturo trips over a stone in the tunnel and falls on his  
>face.<p>

Quinn's eyes narrow in a calculating way.

WADE  
>Professor!<p>

Wade and Rembrandt rush to the Professor, but Quinn waves  
>them off.<p>

QUINN  
>Give the man some dignity, would<br>you? We'll meet you at the top.

Wade wants to protest, but then Quinn hands her the timer.  
>She takes it and turns away, looking back reluctantly.<p>

REMBRANDT  
>I can see the light at the end of<br>the tunnel. We're almost out of  
>here!<p>

He and Wade set off. Their voices can be heard at a distance.

REMBRANDT (O.S.) (CONT'D)  
>Too bad our trip here got<br>interrupted. For a world where you  
>go to jail for talking out loud,<br>the music was really good.

WADE (O.S.)  
>Might be for the best. I don't<br>think the Professor could've made  
>it two weeks without hearing the<br>sound of his own voice.

As Wade and Rembrandt's voices fade away, Quinn helps the  
>Professor up. He watches Wade and Rembrandt pass out of<br>sight.

ARTURO  
>A moment to catch my breath, if you<br>please. Thank you, my -

And then Quinn slams Arturo against the wall of the tunnel.  
>Before Arturo can call out, Quinn slaps a hand over Arturo's<br>mouth, silencing him.

Quinn puts a knee into Arturo's stomach. Arturo chokes and  
>Quinn lets him drop to the ground.<p>

ARTURO (CONT'D)  
>- what - ?<p>

QUINN  
>That Kromagg was feeding details<br>from your minds into mine. And in  
>my mind, he added this little<br>factoid - he said that Rembrandt  
>had been in the Navy. Where would<br>he get an idea like that? Remmy  
>can't even swim.<p>

Arturo is breathing hard, trying to recover, not responding.

QUINN (CONT'D)  
>(leaning down to Arturo)<br>He'd get that detail from someone  
>who came from a world where his<br>Rembrandt actually was in the Navy.  
>(a cold whisper)<br>From you. You're not our Professor.  
>You're the double.<p>

Quinn grabs Arturo by the shirt. Hauls him up.

QUINN (CONT'D)  
>That Kromagg tried to steal our<br>lives, but you stole the  
>Professor's first!<p>

ARTURO  
>Quinn, I'm sorry - I never thought<br>-

QUINN  
>Shut up and listen.<p>

And he whispers angrily in Arturo's ear.

QUINN (CONT'D)  
>I saw the future, Maximilian. I<br>remember all of it. I've seen what  
>happens without you.<br>(beat)  
>This team needs its Professor<br>Arturo. And now that's you.

Quinn releases Arturo.

QUINN (CONT'D)  
>Wade and Rembrandt. They can never<br>know. Do you understand me?

Arturo is shaken. Frightened. But he holds up his hands in a  
>placating manner, and nods.<p>

QUINN (CONT'D)  
>The Professor left you big shoes to<br>fill.  
>(giving Arturo a moment)<br>Go on. They're waiting for us.

Arturo, shamed and grateful, begins moving up the tunnel.

Quinn stands still for a moment, glancing back one last time  
>at the chamber he's leaving behind.<p>

FADE TO:

EXT. HILLSIDE. MORNING

It's a beautiful morning. The hillside overlooks a bay of  
>water that stretches out to the horizon. Wade and Rembrandt<br>admire the sunrise, whispering, chuckling. They bask in the  
>warmth.<p>

Arturo emerges from the cave and joins them. Wade runs to  
>him, brushing dirt from his clothes like he's a boy, and he<br>smiles, letting her. Rembrandt looks on and grins.

Quinn comes from the cave, calm and serene. He looks at his  
>friends, happy, united, together once more. Having never been<br>apart.

Wade raises the timer. She presses the button and triggers  
>the vortex, and its silver and blue light flashes across<br>their faces.

REMBRANDT  
>I've never been so happy to see<br>that thing!

WADE  
>Oh, please. You say that every<br>week!

Rembrandt laughs and dives into the vortex. Wade gives Quinn  
>a smile and then skip-jumps after Rembrandt, disappearing in<br>a flash of light.

Arturo casts an uncertain expression at Quinn. Quinn inclines  
>his head towards the vortex, urging him on, and Arturo hurls<br>himself into the void, vanishing.

And as Quinn himself runs towards the gateway -

QUINN  
>We're back.<p>

And he leaps...

**ONLY THE BEGINNING**

* * *

><p><em><strong>Some thoughts from a mysterious fan of SLIDERS, Slider_Quinn21, whose musings touched many of the words within this script.<strong>_

SLIDERS is a truly unique show. The premise is amazing. People who I talk to who don't like the show agree that the premise was great. The "What If" facet of SLIDERS is fascinating to a lot of other people. Everyone dreams of what could've happened if things were different. That's what made Quinn make that first slide. Even without SLIDERS, the "what if" question continues to circulate throughout television and movies.

SLIDERS survived multiple cancellations. What other shows can claim that? SLIDERS survived cast change after cast change after cast change after cast change. What other show can claim to keep good ratings after losing 75 per cent of its original cast, including two fan favorites? When you all watched the pilot, would you think that Rembrandt would be the one to survive if someone had to? Rembrandt, the comic relief?

SLIDERS has spawned several websites and fanfiction. How many shows have entire sites like the Otherworlds, filled with Fanfiction? How many shows have sites like or The Dimension of Continuity that break down every facet of the show? While searching for websites for SEVEN DAYS, I realized how lucky we are.

We have stuck with the show through the good, the bad, and the really bad. Many of us despise most of the show. How many shows can claim to keep a stable fanbase when most of the fanbase only really like about 20 of the episodes?

It really shows the power of fans. This is a show the network really didn't want. FOX cancelled it every single year, and it was saved every year. Sci-Fi Channel took advantage of the fans and tried to cancel it to no avail. Even with no actors, no budget, and no interest, a sixth season almost happened.

The fans kept a show on the air for five years that should've been on for 20 episodes. Probably less. And all because of how it started.

If there had been four different characters, played by four different actors, the show might not have been as special. There was something about Jerry's Quinn, who seemed both amazingly confident and extremely shy. You see him act so proud and energetic in the basement and so shy and out-of-place everywhere else. He brought a lot of humanity to Quinn, which makes his later performances so sad.

There's something about Sabrina as Wade. She's beautiful, but she plays that "girl next door that no one notices" so well. It was endearing, and her relationship with Quinn was so real. She wasn't a bombshell, and he wasn't dashing. But they were both attractive, and they seemed to have real chemistry.

Arturo was exactly the way he needed to be played. He's mystified by what he's able to see, proud that he's a part of it, but seemingly jealous at the same time. He played the patriarch of the group, stern when he needed to be but loving at other times. If not for John Rhys-Davies, the show wouldn't have been half the show it was. Which explains the immediate drop off as soon as he left, in both acting performances and story quality. I don't think John would've accepted some of the crap that came out in season four or five. In fact, I'm surprised he put up with as much as he did in season three.

And Cleavant. Not only was he great for the show, he was great for the fans. He stayed when he was on a sinking ship, and he's always said he did it for the fans. Imagine a season five with Maggie, Mallory, Diana, and someone else, it would've been a disaster. Rembrandt brought soul and humanity to the series, and his performance never dropped. You cheered for him, even when the story quality died.

Those four people made SLIDERS great. But I think their story is done. Whether it's unfair or not, SLIDERS is more muddled than STAR TREK ever was.

We saw the worst death in television to the most beloved character. We saw another beloved character get sent to a breeding camp, forgotten, and then turned into the fortune teller machine from BIG. We saw the star of the show turn into a jackass and put his talentless brother in a main role, and then we saw him abandon the show and the fans.

The goal in Seasons 1 - 3 was to get home. Did they get home? The goal in Season 4 was to find Kromagg Prime and Quinn's parents? Did they do this? The goal in Season 5 was to separate Mallory and find Colin? Did they do this? So, in retrospect, nothing that SLIDERS set out to do was accomplished. Countless threads were left untied. We never found out what happened to Bennish or Logan or the Professor or Wade or even Colin. And to make things worse, we were denied a resolution. The show ended on a cliffhanger twice and we will never get a resolution to "The Seer."

Surgery could be done to remove all the tumors, but it would probably end up killing the patient. It's probably best to just amputate that segment of SLIDERS and move on.

If they ever end up doing a SLIDERS: THE NEXT GENERATION with new characters, I'd like to see some sort of comic book to tie up loose ends. Kinda like how STAR TREK (2009) released a comic tying the TNG-era movies to the new universe. But I just don't know how you'd do it. You can split Mallory and save Quinn. You can reveal that the Kromagg Prime stuff was a trick. You can do a "Post Traumatic Slide Syndrome" reveal and 'save' the original Arturo. But what about Wade? It'd be a mess just to get everyone back on the same page, let alone give any proper closure to anyone.

**On Season 4**  
>I think the difference between SLIDERS and any normal television series is the sheer number of different people that were in charge along the way. SLIDERS changed producers, executive producers, showrunners, and networks. Outside of Cleavant, I don't think anyone that was with the show for episode one was with the show for episode 88. So there was no one there to guide the show from point A to point Z. And there was no consistency for any of the characters.<p>

There were so many emotional issues that they could've run with, but they ignored almost everything. It ran on a "oh well" system, like a sitcom, where nothing ever carries over into the next episode. Quinn never deals with the death of his mentor, the capture/rape of his best friend, or the destruction of his homeworld (adopted or not). Rembrandt never really deals with Wade's abduction or the invasion of Earth Prime. Maggie never deals with the destruction of her world, the death of her husband, or the relief of killing Rickman.

And while the show didn't have to turn into GILMORE GIRLS and have everyone discuss their feelings, it could've easily addressed some of these major concerns. Because, while the third season was insane, it did set up a lot of potential drama in season four. And on a new network, they had a chance to have a completely clean slate... something that most shows don't get a chance to do.

Think about how SLIDERS would be done in today's world, and where it could've gone creatively. You start season four with the following:

Quinn has lost his mentor, and his quest for revenge never really allowed him to mourn. With no Arturo, Quinn has been forced to take up definitive leadership in the role. Quinn has seen several versions of himself, most of them having invented sliding. Earth Prime has been taken over by Kromaggs, completely altering the sliders' original goals. Quinn finds out that he's a central figure in the war between humans and Kromaggs. Wade has been captured and taken away by the Kromaggs. Rembrandt has been living in a prison camp. Maggie is forced to bond in a group now that her own quest for revenge is over. She also didn't mourn the loss of her husband. Or, consequently, her entire world.

Given the writers of SLIDERS season four, most of that wasn't considered. But put the writers of FRINGE on that? Or SUPERNATURAL? Or LOST? Or one of the other brilliant genre shows today? And I think you have a lot to work with.

Consider Quinn. Here he is, having travelled around the multiverse for three years. It's started to be fun, and he's starting to learn that he (Quinn Mallory) is important on several worlds. Creating sliding wasn't unique to himself on one world - he's important on a lot of worlds. Written correctly, Quinn could've easily developed a god complex - he's really special. Throw in the whole Kromagg Prime arc, and it becomes even easier to tip him over the edge. As far as the shift in his character goes, it's not necessarily out of the blue that he'd go from nerdy science geek to superhero. He was already athletic (he was a high school quarterback), and he was already heroic. Sliding had trained him on weapons of all kinds.

Then there's the whole shift in focus. Sliding was originally about exploration. Getting lost in the multiverse changed that, and the quest became to get home. Then it became about getting Rickman.

But finding Earth Prime invaded changed all that. Now it isn't about finding home or science or exploration. It's about survival. And, if they decide to go that direction, it would become about liberation. Which would, of course, require a superhero.

And they could've easily gone with the "Kromagg Spy" plan. They want to destroy Quinn, and they come up with this plan. They see a guy who's already convinced that he's important, and they play to that. Make him think he's supremely important. Fill the void of his own mentor with his own ego. Build him up...and when he's at his most vulnerable, destroy him.

You also have Maggie moving in to Wade's spot. She'd fill the void in Quinn's... er... heart... but she wouldn't fill the hole in Rembrandt's. And it'd be a completely different dynamic in the group. That, plus Rembrandt's experience as a POW, would probably make the Cryin' Man darker. Losing Arturo, Wade, and the loveable Rembrandt would completely change that the way the group functions. Throw in a more action-oriented leader Quinn and a militaristic Maggie, and the group would start to function in a more military-oriented way.

Then, there's Colin. Make him a Kromagg Spy, but I like the idea that it's subliminal or subconscious. Because I do actually like the idea of Colin, coming from an "Amish" world as a Slider. It's a big enough moment of excitement to have our sliders seeing alternate worlds, but the wonder and amazement that Colin would have experienced would've been monumental. I think it could've been fascinating.

And much like Castiel/Jimmy from SUPERNATURAL, it could've been an interesting subplot to have the "Colin" personality trapped when the "Kromagg Spy" personality emerges. Could he be saved?

There was so much that they could've done. They could've done just about anything with this premise. If they wanted to do a one-man show with Jerry, they could've. If they wanted to turn the show on it's ear, they could've. But what they did, instead, was make a cheap copy of the first couple of seasons.

The casting stuff was bad, but it was salvageable. The budget was low, but it isn't the kind of show that demands a lot of spending. And even some of the story ideas (Kromaggs as a primary villain, Earth Prime invaded, Quinn from another Earth) could be worked with. It could've worked, despite all of that. And they just dropped the ball. It's just a shame.

**On a SLIDERS feature film**  
>If we got a SLIDERS movie, I think reboot is the only way to go. As many fans as there are of SLIDERS still, I think our opinions are all but irrelevant to the discussion. I don't think anything from the show would be referenced. Nothing. Pretend, as you easily can with this premise, that the TV show and the movie are different sets of sliders. Quinn Mallory discovers sliding, and he and friends go on a journey. Anything outside of that would boggle things up way too much.<p>

If you want, do a reboot with new actors. If you want the original actors, it could still work. You just write Quinn as a scientist-at-heart that lost track of time and grew up before he could make his scientific breakthrough. Make Wade his wife. Arturo and Rembrandt could just as easily be 15 years older than they were when the show premiered without changing much of anything.

This isn't the same situation as STAR TREK, where they had to fill in the gaps to the show's fans. They could show, very early, that this isn't Quinn from the TV show. This is an entirely new Quinn Mallory, and the premise allows this to be no big deal. And if they wanted, like STAR TREK (2009) did, they can release a comic book to provide an in-canon explanation to explain what happened to the TV show characters.

But, at the end of the day, I don't think the fans are worried about Mallory or Diana or Maggie. I don't even think they're worried about Rembrandt. Give us a new movie, and I think we'll be fine.

The execution for SLIDERS was awful for a large majority of the show. Even the sacred first season isn't void of major issues, and it's less than ten episodes long. It's the idea that kept the show going for five years, and it is what should be able to bring the show back in some form. SLIDERS doesn't have the fan base of STAR TREK, but it also wouldn't require the kind of budget that either of those franchises requires. You can make a SLIDERS movie on very small percentage of the budget of a Trek movie. If done correctly, it wouldn't require much CGI, and none of the actors would demand a high salary. If you reboot with younger actors, you might even make it cheaper.

**On new characters or recasting?**  
>Is SLIDERS simply the original four people? If so, why does Maggie (49 episodes) appear in more episodes over the course of the series than Arturo (41)? Is SLIDERS only the first 41 episodes, and is the second half of the series simply a spinoff with the same name?<p>

Or is SLIDERS simply a group of people going from one parallel universe to another? The show survived without all but one of the original characters. I realize it wasn't great survival, but it did survive. And, at times, it was able to tell a good story or two, even without Quinn or Wade or Arturo.

If a SLIDERS movie came out with all-new actors and all-new characters, I think it would still be SLIDERS. It would probably, at least to me, still be SLIDERS without many references to the original series. If they followed the path of Tommy, Professor Knight, Jack, and Jill... if the story works, I think it would be easily accepted as part of the canon. In the same way that STAR TREK fans accepted Picard and Sisko after Kirk sailed into the sunset.

Because, like STAR TREK, SLIDERS has a simple goal. Trek explored the stars. SLIDERS explores parallel universes where anything is possible. And as much as I like the original four characters, I think I love the premise so much more.


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